document_title: Star Wars: Episode I – The Phantom Menace

question_text: who plays the queen in episode 1 star wars

text: Star Wars: Episode I – The Phantom Menace

text: Plot

text: The Trade Federation upsets order in the Galactic Republic by blockading the planet Naboo in preparation for a full-scale invasion. The Republic's leader, Supreme Chancellor Valorum, dispatches Jedi Master Qui-Gon Jinn and his apprentice, Obi-Wan Kenobi, to negotiate with Federation Viceroy Nute Gunray. Darth Sidious, a Sith Lord and the Trade Federation's secret adviser, orders the Viceroy to kill the Jedi and begin their invasion with an army of battle droids. The Jedi escape and flee to Naboo. During the invasion, Qui-Gon saves a Gungan outcast, Jar Jar Binks, from being run over and killed by a droid transport. Indebted to Qui-Gon, Jar Jar leads the Jedi to an underwater Gungan city. The Jedi unsuccessfully try to persuade the Gungan leader, Boss Nass, into helping the people of Naboo, though they are able to obtain transportation to Theed, the capital city on the surface. They rescue Queen Padmé Amidala, the ruler of the Naboo people, and escape the planet on her royal starship en route to the Republic capital planet of Coruscant.

text: Amidala's ship is damaged as they pass the Federation blockade and becomes unable to use its hyperdrive, landing for repairs on the desert planet Tatooine. Qui-Gon, Jar Jar, astromech droid R2-D2, and Padmé – disguised as one of her handmaidens – visit the settlement of Mos Espa to purchase new parts at a junk shop. They meet the shop's owner, Watto, and his nine-year-old slave, Anakin Skywalker, who is a gifted pilot and engineer, and has created a protocol droid called C-3PO. Qui-Gon senses a strong presence of the Force within Anakin, and is convinced that he is the "chosen one" of the Jedi prophecy who will bring balance to the Force. Qui-Gon wagers Anakin's freedom with Watto in a Podrace, which Anakin wins. Anakin joins the group to be trained as a Jedi, leaving behind his mother, Shmi. En route to their starship, Qui-Gon encounters Darth Maul, Darth Sidious' apprentice, who was sent to capture Amidala. A duel ensues, but Qui-Gon quickly disengages and escapes on board the starship.

text: Qui-Gon and Obi-Wan escort Amidala to Coruscant so that she can plead her people's case to Chancellor Valorum and the Galactic Senate. Qui-Gon asks the Jedi Council for permission to train Anakin as a Jedi, but the Council refuses, concerned that Anakin is vulnerable to the dark side. Undaunted, Qui-Gon vows to train Anakin himself. Meanwhile, Naboo's Senator Palpatine persuades Amidala to make a vote of no confidence in Valorum to elect a more capable chancellor to resolve the crisis on Naboo. Though she is successful in pushing for the vote, Amidala grows frustrated with the corruption in the Senate and decides to return to Naboo. Qui-Gon and Obi-Wan are ordered by the Jedi Council to accompany the queen to Naboo, as well as to confirm the return of the Sith, whom they believe to be extinct.

text: On Naboo, Padmé reveals herself to the Gungans as Queen Amidala, and persuades them into an alliance against the Trade Federation. Jar Jar leads his people in a battle against the droid army while Padmé leads the hunt for Viceroy Gunray in Theed. During a battle in a starship hangar to free Naboo pilots, Anakin takes shelter in a vacant starfighter, and inadvertently triggers its autopilot, joining the battle against the Federation droid control ship in space. Anakin blunders into the hangar of the droid control ship and destroys the ship from within before escaping, deactivating the droid army. Meanwhile, Qui-Gon and Obi-Wan battle Darth Maul, who mortally wounds Qui-Gon, but is eventually bisected by Obi-Wan. As he dies, Qui-Gon requests Obi-Wan to train Anakin. Subsequently, Palpatine is elected as the new Supreme Chancellor, and Gunray is arrested. Yoda promotes Obi-Wan to the rank of Jedi Knight and reluctantly accepts Anakin as Obi-Wan's apprentice. Padmé presents a gift of appreciation and friendship to the Gungans at a festive ceremony.

text: Cast

text:
Liam Neeson as Qui-Gon Jinn, a Jedi Master who discovers Anakin and insists that the boy be trained as a Jedi despite the Jedi Council's protests. Lucas originally wanted to cast an American actor in the role, but cast Irishman Neeson because he considered that Neeson had great skills and presence. Lucas said Neeson was a "master actor, who the other actors will look up to, who has got the qualities of strength that the character demands".[7]
Ewan McGregor as Obi-Wan Kenobi, Qui-Gon's Jedi Padawan, who holds his master in high regard but questions his motives at times. McGregor was cast from a shortlist of fifty actors, all of whom had to be compared to pictures of young Alec Guinness, who portrayed the elderly Obi-Wan, to make a believable younger version.[8] McGregor had a vocal coach to help his voice sound closer to Guinness'. He also studied several of Guinness' performances, from his early work and the Star Wars movies.[7]
Natalie Portman as Queen Padmé Amidala, the 14-year-old Queen of Naboo, who hopes to protect her planet from a blockade invasion made by the Trade Federation. Over 200 actresses auditioned for the role.[9] The Production notes stated; "The role required a young woman who could be believable as the ruler of that planet, but at the same time be vulnerable and open". Portman was chosen especially for her performances in Léon: The Professional (1994) and Beautiful Girls (1996), which impressed Lucas.[7] He stated, "I was looking for someone who was young, strong, along the lines of Leia [and] Natalie embodied all those traits and more".[7] Portman was unfamiliar with Star Wars before being cast,[7] but was enthusiastic about being cast as a character she expected to become a role model. Portman said, "It was wonderful playing a young queen with so much power. I think it will be good for young women to see a strong woman of action who is also smart and a leader."[10]
Jake Lloyd as Anakin Skywalker, a 9-year-old slave boy and a skilled pilot who dreams of becoming a Jedi. Hundreds of actors were tested[7] before the producers settled on Lloyd who Lucas considered met his requirements of "a good actor, enthusiastic and very energetic". Producer Rick McCallum said that Lloyd was "smart, mischievous and loves anything mechanical—just like Anakin."[11]
Ian McDiarmid as Senator Palpatine / Darth Sidious, a Senator of Naboo who is eventually elected Chancellor of the Republic. McDiarmid was surprised when Lucas approached him 16 years after Return of the Jedi to reprise the role of Palpatine because he had assumed that a younger actor would play the part in the prequel films.[12]
Anthony Daniels voices C-3PO, a protocol droid built by Anakin. He lacks a metal covering in this film; R2-D2 refers to it as being "naked". A puppeteer dressed in a color closely matching the background—in a manner similar to the Japanese puppet theater Bunraku—manipulated a skeletal C-3PO figure attached to his front while Daniels read his lines off-camera. The puppeteer was erased from the film during post-production.[11][13]
Kenny Baker as R2-D2, an astromech droid that saves Queen Amidala's ship when other droids fail. Before the film's production started, fans campaigned on the Internet to retain Baker as R2-D2; Lucas replied that the actor would remain. Baker is used for scenes where R2-D2 bends forwards and backwards and wobbles from side to side. Robots and a digital model were used in other shots.[14]
Pernilla August as Shmi Skywalker, Anakin's mother, who is concerned for her son's future and allows him to leave with the Jedi. August, a veteran of Swedish cinema, was chosen after auditioning with Liam Neeson. She was afraid of being rejected because of her accent.[15]
Frank Oz voices Yoda, the centuries-old leader of the Jedi Council who is apprehensive about allowing Anakin to be trained. Yoda was mostly portrayed as a puppet designed by Nick Dudman based on Stuart Freeborn's original design. Oz controlled the puppet's mouth and other parts were controlled by puppeteers using remote controls.[15] Lucas fitted Yoda's filming around Oz's schedule as he finished and promoted In & Out.[16] A computer-generated Yoda is featured in two distant shots. Warwick Davis portrays him in the scene in which Obi-Wan becomes a Jedi Knight.[17] Lucas said he originally wanted to use a full-time digital Yoda, but the attempts did not work well enough. On the Blu-ray release of The Phantom Menace, which was also used for the 3D reissue, a CG Yoda similar to the one from the other prequels is used instead.[18]
Ahmed Best as Jar Jar Binks, a clumsy Gungan exiled from his home and taken in by Qui-Gon and Obi-Wan. Best was hired after casting director Robin Gurland saw him on a Stomp performance in San Francisco.[11] Best was originally intended to provide motion capture data but his offer to voice the character was accepted. On the set, to provide references for the actors, Best was clothed in a suit made of foam and latex and a headpiece. Best's filmed performance was later replaced with the computer-generated character.[15] Best frequently improvised movements to make Jar Jar look as clumsy and comedic as possible.[11]
Oliver Ford Davies as Sio Bibble, the governor of Naboo.
Hugh Quarshie as Captain Panaka, Queen Amidala's chief of security at Theed Palace.
Samuel L. Jackson as Mace Windu, a high-ranking member of the Jedi Council who also opposes the training of Anakin.
Ray Park portrays Darth Maul, Darth Sidious' Sith apprentice who uses a double-bladed lightsaber, while Peter Serafinowicz provides Maul's voice.
Terence Stamp as Supreme Chancellor Valorum, the Chancellor of the Republic who commissions Obi-Wan and Qui-Gon to negotiate with the Trade Federation Viceroy. Lucas described the character as a "good man but he's beleaguered—a bit like [Bill] Clinton".[19]
Keira Knightley plays Sabé, one of Queen Amidala's handmaidens who serves as her decoy throughout the majority of the film.
Silas Carson portrays Nute Gunray, the Viceroy of the Trade Federation who leads Naboo's invasion and tries to force Queen Amidala to sign a treaty to legitimize the occupation. Carson also portrays three minor characters: Jedi Master Ki-Adi-Mundi, Trade Federation Senator Lott Dod, and an ill-fated pilot (the role for which Carson originally auditioned).[20]

tag: ul

text: Additionally, Brian Blessed, Andy Secombe, and Lewis MacLeod voice, respectively, Boss Nass, the leader of the Gungan tribe who allies with the Naboo, Watto, a junk dealer on Tatooine who owns Anakin and his mother as slaves, and Sebulba, an aggressive, scheming podracer who is Anakin's rival. Greg Proops and Scott Capurro voice Fode and Beed, the two-headed announcer of the Boonta Eve Race. Dominic West plays a Naboo guard. Sofia Coppola appears as Saché, one of Amidala's handmaidens, and Ralph Brown appears as Ric Olié, the Queen's starship pilot. Christian Simpson appears as Lieutenant Gavyn Sykes.[21]

text: Production

text: Development

text: While writing the original Star Wars, Lucas realized the story was too vast in scope to be covered in one film. The original film was written to introduce a wider story arc that could be told in sequels on the chance that it became successful, so Star Wars evolved from the first film in the series to the first episode of the saga's second trilogy.[22][23] Lucas eventually negotiated a contract that allowed him to make two sequels, and over time had created an elaborate backstory to aid his writing process.[24] While writing The Empire Strikes Back, Lucas considered directions in which to take the story. In the original trilogy, Darth Vader was revealed to have been Anakin Skywalker, a once-powerful Jedi Knight, and a traitor to the Jedi Order.[25] With this backstory in place, Lucas decided the movies would work best as a trilogy.[26] In the final act of the trilogy's final episode, Return of the Jedi, Vader is ultimately redeemed through an act of sacrifice for Luke. This was in 1983, more than six years since the release of Star Wars. Lucas admitted to being "burned out" and announced he would take a break from working on the saga.[27]

text: Throughout the 1980s, George Lucas remarked he had no desire to return to Star Wars and had unofficially canceled his sequel trilogy by the time of Return of the Jedi. Because Lucas had developed most of the backstory, the idea of prequels continued to fascinate him.[28] In the early 1990s, Star Wars saw a resurgence in popularity in the wake of Dark Horse's comic line and Timothy Zahn's trilogy of novels. Lucas saw there was still a large audience for his idea of a prequel trilogy and with the development of special effects generated with computer-generated imagery (CGI), Lucas considered returning to his saga and directing the film.[29] In 1993, it was announced in Variety and other sources that he would be making the prequels. Lucas began outlining the story; Anakin Skywalker rather than Obi-Wan Kenobi would be the protagonist and the series would be a tragedy examining Darth Vader's origins. Lucas also began to change the prequels' timeline relative to the original series, "filling-in" the history, backstory, existing parallel or tangential to the originals and beginning a long story that started with Anakin's childhood and ended with his death. This was the final step toward turning the franchise into a saga.[30]

text: George Lucas began writing the new Star Wars trilogy on November 1, 1994. The screenplay of Star Wars was adapted from Lucas' 15-page outline that was written in 1976, which he designed to help him keep track of the characters' backstories and events that occurred before the original trilogy.[31] Anakin was first written as a twelve-year-old, but Lucas reduced his age to nine because he felt the lower age would better fit the plot point of Anakin being affected by his mother's separation from him. Eventually, Anakin's younger age led Lucas to rewrite his participation in the movie's major scenes.[32] The film's working title was The Beginning;[31] Lucas later revealed that its true title was The Phantom Menace; a reference to Palpatine hiding his true identity as an evil Sith Lord behind the facade of a well-intentioned public servant.[33]

text: The larger budget and possibilities opened up by the use of digital effects made Lucas "think about a much grander, more epic scale—"which is what I wanted Star Wars to be".[34] The story ended with five simultaneous, ongoing plots, one leading to another. The central plot is Palpatine's intent to become Chancellor, which leads to the Trade Federation's attack on Naboo, the Jedi being sent there, Anakin being met along the way, and the rise of the Sith Lords. As with the original trilogy, Lucas intended The Phantom Menace to illustrate several themes throughout the narrative. Duality is a frequent theme; Amidala is a queen who passes as a handmaiden, Palpatine plays on both sides of the war, among others. "Balance" is frequently suggested; Anakin is supposedly "the one" chosen to bring balance to the Force—Lucas said, "Anakin needed to have a mother, Obi-Wan needed a Master, Darth Sidious needed an apprentice" as without interaction and dialogue "you wouldn't have drama".[35]

text: In November 2015, Ron Howard confirmed that he, Robert Zemeckis and Steven Spielberg were approached by Lucas to direct The Phantom Menace. All three approached directors told Lucas that he should direct the film, as they each found the project "too daunting."[36]

text: Pre-production and design

text: Before Lucas had started writing, his producing partner Rick McCallum was preparing for the film. McCallum stated that his experience with The Young Indiana Jones Chronicles led to many of his decisions on The Phantom Menace, such as long-term deals with actors and soundstages, the employment of recent graduates with no film experience, and the creation of sets and landscapes with digital technology. In April 1994, McCallum started searching for artists in art, architecture and design schools, and in mid-year he began location scouting with production designer Gavin Bocquet. Industrial Light & Magic (ILM) art director Doug Chiang impressed McCallum the most and was hired as the design director.[37][38]

text: Within three to four months of Lucas beginning the writing process, Chiang and his design team started a two-year process of reviewing thousands of designs for the film.[39] Chiang stated that Lucas intended Episode I to be stylistically different from the other Star Wars films; it would be "richer and more like a period piece, since it was the history leading up to A New Hope". The three planets on which the story takes place—some with varied environments such as the human and Gungan cities of Naboo and three buildings in Coruscant. With the exception of the Gungan city, which had an art nouveau-inspired visual, these locations would be given distinctive looks with some basis in the real world. The concept drawings of Ralph McQuarrie for the original trilogy served as the basis for Mos Espa—which was also inspired by old Tunisian hotels and buildings and had touches such as a market place to differentiate it from A New Hope's Mos Eisley—and Coruscant, in particular a metropolis design which became the basis for the Senate.[40] Bocquet would later develop the work of Chiang's team and design the interiors, translating the concepts into construction blueprints with environments and architectural styles that had some basis in reality "to give the audience something to key into".[41] Some elements were directly inspired by the original trilogy; Lucas described the battle droids as predecessors to the Stormtroopers. Chiang uses that orientation to base the droids on the Imperial soldiers, only in the same style of stylized and elongated features seen in tribal African art.[34]

text: Terryl Whitlatch, who had a background on zoology and anatomy, was in charge of creature design. Many of the aliens are hybrids, combining features of real animals. At times entire food chains were developed even though only a small percentage of them would appear in the film. Whitlatch also designed detailed skeletons for the major characters and facial muscles on Jar Jar Binks as a reference for ILM's animators. Each creature would reflect its environment; those on Naboo were more beautiful because the planet is "lush and more animal-friendly", Tatooine has rough-looking creatures "with weather-beaten leathery skin to protect them from the harsh desert elements", and Coruscant has bipedal, human-looking aliens.[42]

text: Stunt coordinator Nick Gillard was recruited to create a new Jedi fighting style for the prequel trilogy. Gillard likened the lightsaber battles to a chess game "with every move being a check". Because of their short-range weapons, Gillard thought the Jedi would have had to develop a fighting style that merged every swordfighting style, such as kendo and other kenjutsu styles, with other swinging techniques, such as tennis swings and tree-chopping. While training Liam Neeson and Ewan McGregor, Gillard wrote a sequence which lasted around 60 seconds and intended to be around five or six sequences per fight.[43] Lucas later referred to the Jedi as "negotiators" rather than high-casualty soldiers. The preference of hand-to-hand combat was intended to give a spiritual and intellectual role to the Jedi.[43] Because Gillard thought the stunt jumps with the actors and stuntmen dangling from wires did not look realistic, air rams were used to propel them into the air instead.[44]

text: Lucas decided to make elaborate costumes because the film's society was more sophisticated than the one depicted in the original trilogy. Designer Trisha Biggar and her team created over 1,000 costumes that were inspired by various cultures.[45] Biggar worked closely with concept designer Iain McCaig to create a color palette for the inhabitants of each world: Tatooine followed A New Hope with sun-bleached sand colors, Coruscant had grays, browns and blacks, and Naboo had green and gold for humans while Gungans wore "a leathery look, like their skin". The Jedi costumes followed the tradition from the original film;[46] Obi-Wan's costume was inspired by the costume that was worn by Guinness. Lucas said he and Biggar would look at the conceptual art to "translat[e] all of these designs into cloth and fabric and materials that would actually work and not look silly". Biggar also consulted Gillard to ensure the costumes would accommodate action scenes, and consulted the creature department to find which fabrics "wouldn't wear too heavily" on the alien skins. A huge wardrobe department was set up at Leavesden Film Studios to create over 250 costumes for the main actors and 5,000 for the background ones.[47]

text: Nute Gunray's Thai accent was chosen after Lucas and McCallum listened to various languages to decide how the Neimodians would speak.[48] The character design of Watto was an amalgam of rejected ideas; his expressions were based on video footage of Secombe's voice acting, photographs of animation supervisor Rob Coleman imitating the character, and modeler Steve Alpin saying Watto's lines to a mirror.[49] Lucas described Sebulba's design as "a spider crossed with an orangutan crossed with a sloth",[50] with a camel-like face, and clothing inspired by medieval armor.[51]

text: Casting

text: After Samuel L. Jackson expressed interest in appearing in a Star Wars film, he was approached by casting director Robin Gurland to play Windu.[11] Ray Park, a martial arts champion with experience in gymnastics and sword fighting, was originally a member of the stunt crew.[11] Stunt coordinator Nick Gillard filmed Park to demonstrate his conception of the lightsaber battles. Lucas and McCallum were so impressed with the test tape that they gave Park the role of Maul. His voice was considered "too squeaky" and was dubbed over in post-production by Peter Serafinowicz.[15] Keira Knightley's parents tried to convince her not to audition, but the teenage actress still sought a role since she was a Star Wars fan.[52] The casting was influenced by Knightley's remarkable similarity to Natalie Portman, with the actress admitting their mothers could not tell each other apart.[53] Knightley was reported to have "cried every single day" due to finding the wardrobe uncomfortable.[52]

text: Silas Carson was cast as Nute Gunray because another actor was uncomfortable with the costumes used by the Trade Federation characters, which were hot, exerted a lot of pressure on the bearer, and took about 15 minutes to apply. Hugh Quarshie considered the part of Panaka as "a good career move" and a production that would be fun to make.[54] Brian Blessed originally auditioned for the role of Sio Bibble, the Governor of Naboo,[55] for which he was considered "too loud".[56] Casting director Robin Gurland approached him to play Nass because it was a "bigger than life" character with "a kind of bravado".[57] Blessed described Nass as a "reluctant hero",[56] and a fun role to play.[58] Sofia Coppola, daughter of Lucas' long-time friend and creative partner Francis Ford Coppola, considers Lucas as "like an uncle to me". As she prepared the script for her directorial debut The Virgin Suicides, Sofia heard Lucas would make a new Star Wars film and asked him if she could accompany him during filming. Lucas offered Coppola a role in the royal entourage, which she accepted because it "seemed like a good vantage point to watch without getting in the way".[59]

text: Filming

text: Filming began on June 26, 1997, and ended on September 30 of that year, primarily taking place at Leavesden Film Studios in England. Leavesden was leased for a two and a half year period so the production company could leave the sets intact and return after principal photography had been completed.[60] The forest scenes on Naboo were filmed at Cassiobury Park in Watford, Hertfordshire.[61][62] Pick-ups were shot between August 1998 and February 1999 after Lucas screened a rough cut of the film for friends and colleagues in May 1998.[63] Most of the action and stunts were filmed by Roger Christian's second unit, which worked alongside the main unit instead of afterwards because of the high number of shots to be completed daily.[44]

text: The Tunisian desert was again used for the Tatooine scenes;[64] Mos Espa was built outside the city of Tozeur. On the night following the third day of shooting in Tozeur, an unexpected sandstorm destroyed many of the sets and props. The production was quickly rescheduled to allow for repairs and was able to leave Tunisia on the date originally planned.[65] The Italian Caserta Palace was used as the interior of the Theed City Naboo Palace;[64] it was used as a location for four days after it had been closed to visitors. Scenes with explosions were filmed on replica sets in Leavesden.[66]

text: A binder with the film's storyboards served as a reference for live-action filming, shots that would be filmed in front of a chroma key blue screen, and shots that would be composed using CGI. The sets were often built with the parts that would be required on screen; often they were built only up to the heights of the actors. Chroma key was extensively used for digital set extensions, backgrounds or scenes that required cinematographer David Tattersall to seek powerful lamps to light the sets and visual effects supervisor John Knoll to develop software that would remove the blue reflection from shiny floors. Knoll, who remained on set through most of the production, worked closely with Tatterstall to ensure that the shots were suitable to add effects later. The cameras were fitted with data capture models to provide technical data for the CGI artists.[67]

text: The Phantom Menace was the final Star Wars film to be shot on 35mm film until Episode VII (Star Wars: The Force Awakens). Some scenes, mostly of elements filmed by the special effects team, were shot on high definition, digital video tapes to test the performance of digital recordings, which Lucas and McCallum considered the next logical step because of the amount of digitizing—an expensive process compared to recording directly on digital media—for the compositing of computer-generated effects. All future films would be shot using Sony CineAlta high-definition video cameras.[68][69] Greg Proops and Scott Capurro were filmed wearing makeup and blue bodysuits so their heads could be joined in a computer-generated body. The visual effects crew did not like the original results and crafted Fode and Beed as an entirely computer generated alien.[70]

text: Editing took two years; Paul Martin Smith started the process in England and focused on dialogue-heavy scenes. Ben Burtt—who was also the film's sound editor—was responsible for action sequences under Lucas' supervision. Non-linear editing systems played a large part in translating Lucas' vision; he constantly tweaked, revised and reworked shots and scenes. The final sound mix was added in March 1999 and the following month the film was completed after the delivery of the remaining visual effects shots.[71]

text: Effects

text:
"Writing the script was much more enjoyable this time around because I wasn't constrained by anything. You can't write one of these movies without knowing how you're going to accomplish it. With CG at my disposal, I knew I could do whatever I wanted".

 —George Lucas[72]

tag: div

text: The film saw breakthrough in computer generated effects. About 1,950 of the shots in The Phantom Menace have visual effects. The scene in which toxic gas is released on the Jedi is the only sequence with no digital alteration.[50] The work was so extensive that three visual effects supervisors divided the workload among themselves—John Knoll supervised the on-set production and the podrace and space battle sequences, Dennis Muren supervised the underwater sequence and the ground battle, and Scott Squires, alongside teams assigned for miniature effects and character animation, worked on the lightsaber effects.[73]

text: Until the film's production, many special effects in the film industry were achieved using miniature models, matte paintings, and on-set visual effects—although other films had made extensive use of CGI. Knoll previewed 3,500 storyboards for the film; Lucas accompanied him to explain factors of the shots that would be practical and those which would be created through visual effects. Knoll later said that on hearing the explanations of the storyboards, he did not know how to accomplish what he had seen. The result was a mixture of original techniques and the newest digital techniques to make it difficult for the viewer to guess which technique was being used. Knoll and his visual effects team wrote new computer software, including cloth simulators to allow a realistic depiction of the digital characters' clothing, to create certain shots. Another goal was to create computer-generated characters that could act seamlessly with live-action actors. While filming scenes with CGI characters, Lucas would block the characters using their corresponding voice actors on-set. The voice actors were then removed and the live-action actors would perform the same scene alone. A CGI character would later be added into the shot to complete the conversation.[74] Lucas also used CGI to correct the physical presence of actors in certain scenes.[50] Practical models were used when their visuals helped with miniature sceneries for backgrounds, set extensions, and model vehicles that would be scanned to create the digital models or filmed to represent spaceships and podraces.[75]

text: Lucas, who had previously confronted problems with the props used to depict R2-D2, allowed ILM and the production's British special effects department to create their own versions of the robot. Nine R2-D2 models were created; one was for actor Kenny Baker to be dropped into, seven were built by ILM and featured two wheelchair motors capable of moving 440 pounds (200 kg), enabling it to run and be mostly used in stage sets, and the British studio produced a pneumatic R2-D2 that could shift from two to three legs and was mostly used in Tunisia because its motor drive system allowed it to drive over sand.[76]

text: Lucas originally planned to create many of the aliens with computer graphics, but those that would be more cost-effectively realized with masks and animatronics were created by Nick Dudman's creature effects team. These included the Neimodians, background characters in Mos Espa, the Jedi Council, and the Galactic Senate. Dudman's team was told where the creatures would be required six months before principal photography begun, and they rushed the production. The Neimodian suits, which were originally intended as digital characters, were delivered one day before they would be required on set. Dudman traveled to Skywalker Ranch to see the original creatures that could be reused, and read the script for a breakdown of scenes with practical creatures, leaving only the more outlandish designs to be created using CGI.[77]

text: To research for the podrace vehicles, the visual effects crew visited a jet aircraft junkyard outside Phoenix, Arizona and scavenged four Boeing 747 engines.[50] Life-sized replicas of the engines were built and sent to Tunisia to provide reference in the film. Except for Jake Lloyd inside a hydraulically controlled cockpit and a few practical podracer models, the entire podracing scene—which the effects crew designed to be as "out of this world" as possible—is computer-generated.[64][78]

text: Music

text: As with previous Star Wars films, Star Wars Episode I: The Phantom Menace's score was composed and conducted by John Williams. He started composing the score in October 1998 and began recording the music with the London Voices and London Symphony Orchestra at Abbey Road Studios on February 10, 1999. Williams decided to use electronic instruments such as synthesizers to enhance the sound and choral pieces to "capture the magical, mystical force that a regular orchestra might not have been able to provide", and create an atmosphere that was "more mysterious and mystical and less military" than those of the original trilogy.[79] One of the most notable tracks is "Duel of the Fates", which uses the chorus to give a religious, temple-like feel to the epic lightsaber duel. The track was made into a music video.[80] While composing Anakin's theme, Williams tried to reflect the innocence of his childhood and to foreshadow his transformation into Darth Vader by using slight suggestions of "The Imperial March" in the melody.[79]

text: The film's soundtrack was released by Sony Classical Records on May 4, 1999. This album featured the score, which Williams restructured as a listening experience; it is not presented in film order and omits many notable cues from the film because of the space restriction of the compact disc.[81] A two-disc "Ultimate Edition" was released on November 14, 2000. The set features almost the entire score as it is heard in the film, including all of the edits and loops that were made for the sound mix.[82]

text: Themes

text: Like previous Star Wars films, The Phantom Menace makes several references to historical events and films that George Lucas watched in his youth. The Star Wars films typically mix several concepts from different mythologies together.[83]

text: The Jedi practice Zen-like meditation and martial arts, as did the ancient Japanese Samurai warriors. The name "Qui-Gon" adapts the term qigong, which refers to a Chinese discipline involving meditation and cultivation of the flow of the vital energy called "Chi" or "Qi" for healing, health and combat. The words Ch'i (Chinese), gi (Korean), ki (Japanese) and the Indian term "Prana" all refer to the energy that is thought to flow through all living things, from the source of all chi (or power) which is "The Way" or "The Tao" in Chinese philosophy. In Taoist philosophy, from The Way, yin and yang—the opposing but complementary aspects of reality or nature—are born. Unlike Chinese philosophy, in which yin and yang are not moral qualities, the ancient Persian philosophy of Zurvanism taught that the dualism of dark and light forces are locked in an eternal battle while being two sides (or evolutes) of the same "Force", the force of time itself (Zurvan)—the prime mover. These elements derive primarily from Eastern and Iranian religions and myths.[83]

text: There are many references to Christian beliefs in the film, such as the appearance of Darth Maul, whose design draws heavily from traditional depictions of the Christian devil, complete with red skin and horns.[83] Maul's facial tattoos were inspired by the indigenous peoples of Brazil.[84] The Star Wars film cycle features a similar Christian narrative involving Anakin Skywalker; he is the "chosen one"—the individual prophesied to bring balance to the Force—who was conceived of a virgin birth and is tempted to join the Sith. Anakin's fall from grace seemingly prevents him from fulfilling his destiny as the "chosen one" (until Return of the Jedi reveals the prophecy was ultimately true). The inspiration behind the story of the virgin birth parallels a concept developed by Joseph Campbell and his work on The Hero with a Thousand Faces, which heavily influenced Lucas' writing of the original Star Wars trilogy's outline.[83]

text: Japanese films such as Akira Kurosawa's The Hidden Fortress influenced the original Star Wars film; scholars say that The Phantom Menace was likewise influenced by Korean and Japanese culture. Film historians Geoff King and Tanya Krzywinska write, "The costume and make-up designs ... favour a mixture of the gothic and the oriental [sic] over anything very futuristic. The gothic is most strongly apparent in Darth Maul's demonic horns and the red and black make-up mask that borrows from the facial designs found in depictions of Japanese demons". King and Krzywinska say that "Qui-Gon's pony tail and Obi-Wan's position of apprentice further encourage a reading in terms of the Samurai tradition". They also say "Amidala, in keeping with her status and character, has a number of highly formal outfits ... to go with hair sculpted into a curve that frames make-up of a Japanese cast".[85]

text: Release

text: The release on May 19, 1999 of the first new Star Wars film in 16 years was accompanied by a considerable amount of attention.[86] Few film studios released films during the same week: DreamWorks and Universal Studios released The Love Letter on May 21 and Notting Hill on May 28, respectively.[87] The Love Letter was a commercial failure but Notting Hill fared better and followed The Phantom Menace closely in second place.[88] Employment consultant firm Challenger, Gray & Christmas estimated that 2.2 million full-time employees missed work to attend the film, resulting in a US$293 million loss of productivity. According to The Wall Street Journal, so many workers announced plans to view the premiere that many companies closed on the opening day.[89] Queue areas formed outside cinema theaters over a month before ticket sales began.[90]

text: More theater lines appeared when it was announced that cinemas were not allowed to sell tickets in advance until two weeks into the release. This was because of a fear that family theater-goers would be either unable to receive tickets or would be forced to pay higher prices for them. Instead, tickets were to be sold on a first-come-first-served basis.[91] However, after meetings with the National Association of Theatre Owners, Lucasfilm agreed to allow advance ticket sales on May 12, 1999, provided there was a limit of 12 tickets per customer.[92] As a result, some advance tickets were sold by scalpers at prices as high as US$100 apiece, which a distribution chief called "horrible" and said was exactly what they wanted to avoid.[93] Daily Variety reported that theater owners received strict instructions from Lucasfilm that the film could only play in the cinema's largest auditorium for the first 8–12 weeks, no honor passes were allowed for the first eight weeks, and they were obliged to send their payments to distributor 20th Century Fox within seven days.[94]

text: Despite worries about the film being finished on time, two weeks before its theatrical release Lucasfilm moved the release date from May 21 to 19, 1999. At the ShoWest Convention, Lucas said the change was intended to give the fans a "head start" by allowing them to view it during the week and allowing families to view it during weekends. Foreshadowing his future conversion to digital cinematography, Lucas said the film would be released on four digital projectors on June 18, 1999.[95] Eleven charity premieres were staged across the United States on May 16, 1999; receipts from the Los Angeles event, where corporate packages were available for between US$5,000 and US$25,000; proceeds were donated to the Elizabeth Glaser Pediatric AIDS Foundation.[96] Other charity premieres included the Dallas premiere for the Children's Medical Center, the Aubrey Fund for Pediatric Cancer Research at the Sloan-Kettering Hospital in New York, the Big Brother/Sister Association of the Philadelphia premiere, and the Children's National Medical Center in Washington, D.C. A statement said that tickets were sold at US$500 apiece and that certain sections of the theaters were set aside for disadvantaged children.[97]

text: Marketing

text: Lucasfilm spent US$20 million on the film's advertising campaign and made promotional licensing deals with Hasbro, Lego, Tricon Global Restaurants, and PepsiCo.[98] Lucasfilm also helped the Star Wars fan club to organize an event called Star Wars Celebration, which was held in Denver, Colorado between April 30 and May 2, 1999.[99]

text: The teaser trailer was released on selected screens accompanying Meet Joe Black on November 13, 1998, and media reported that people were paying full admission at theaters to see the trailer.[100] To keep fans from leaving before the movie was over, some theaters played the teaser an additional time after the film finished.[101] A second trailer was released on March 12, 1999, with the film Wing Commander. Again, many fans paid full theater admission to watch the new trailer.[102] A bootlegged version of the preview was leaked to the Internet the same day.[103] The next morning, the trailer was released on the film's official website and shortly afterwards the servers became overloaded.[104] The theatrical trailer caused even more media attention because it was premiered in theaters and screened at the ShoWest Convention in Las Vegas,[105] and was aired on Entertainment Tonight and Access Hollywood.[103]

text: The teaser poster, featuring Anakin with his shadow forming Darth Vader's silhouette, was released on November 10, 1998. After Lucas opted for a drawn theatrical poster, Drew Struzan, the artist responsible for the Special Edition posters, was commissioned to illustrate, and the poster was unveiled on March 11, 1999. Lucasfilm dictated that, contractually, Struzan's illustration was the only art the foreign distributors could use, and other than the text, it could not be modified in any way.[106]

text: Many tie-in adaptations, such as a LucasArts video game for the PlayStation and PC,[107] a pinball machine by Williams,[108] a four-part comic book adaptation by Dark Horse Comics,[109] and a junior novelization by Scholastic were released.[110] The film's official novelization was written by Terry Brooks, who met with Lucas before writing the book and receiving his approval and guidance. It included information about pending developments in the following two installments of the series.[111]

text: General Mills and Brisk were promotional partners in North America for the 2012 3D re-release but promotion was limited.[112][113] The film was extensively promoted in Japan; promotional products were sold by 7-Eleven, Domino's Pizza, Pepsi and Gari-Gari Kun.[114] Kellogg's promoted the film internationally,[115][116] and French restaurant Quick launched three Star Wars-themed burgers.[117] Lucasfilm also partnered with Variety, the Children's Charity to raise funds for children through the sale of a special edition badge.[118]

text: Home media

text: The film was released worldwide on VHS between April 3 and 8, 2000. Two versions were released in North America on April 4—a standard pan and scan version and a widescreen Collector's Edition version. In its first two days of availability, the regular version sold 4.5 million copies and the limited edition sold 500,000.[119] It was the first Star Wars film to be officially released on DVD, on October 16, 2001. The special features included seven deleted scenes completed specifically for the DVD, a commentary track featuring Lucas and producer Rick McCallum, and several documentaries—including a full-length documentary entitled "The Beginning: Making Episode I". The Phantom Menace became the fastest selling DVD ever in the U.S.; 2.2 million copies were sold in its first week after release.[120]

text: The DVD version was re-released in a prequel trilogy box set on November 4, 2008.[121] A Laserdisc version of The Phantom Menace was released in Japan several months before it was available on DVD in the U.S.[122] The Star Wars films were released by 20th Century Fox Home Entertainment on Blu-ray Disc on September 16, 2011;[123] The Phantom Menace was restored to improve the picture quality and remove the magnification present on the previous DVD release, restoring approximately 8 percent of the picture to the frame.[124] In the Blu-ray release of The Phantom Menace, the Yoda puppet was replaced with a CGI model, making it consistent with the other films of the prequel trilogy.[125]

text: On April 7, 2015, Walt Disney Studios, 20th Century Fox, and Lucasfilm jointly announced the digital releases of the six released Star Wars films. Walt Disney Studios Home Entertainment released The Phantom Menace through the iTunes Store, Amazon Video, Vudu, Google Play, and Disney Movies Anywhere on April 10, 2015.[126]

text: 3D re-release

text: On September 28, 2010, it was announced that all six films in the series would be stereo-converted to 3D. These would be re-released in episode order, beginning with The Phantom Menace, which was released to cinemas in February 10, 2012.[127] Prime Focus Limited did the conversion under close supervision by ILM.[128] However, the 3D re-releases of Star Wars: Episode II – Attack of the Clones and Star Wars: Episode III – Revenge of the Sith were postponed after Lucasfilm was bought by The Walt Disney Company, which decided to focus on the development of Star Wars: The Force Awakens.[129]

text: Lucas stated the 3D re-release was "just a conversion" of the film's 2011 Blu-ray release and no additional changes were made.[130] Only a change to Anakin's magnetic wand during the podrace scene—its tip was sharpened to more accurately fit the original 2D photography to the new 3D image—was confirmed.[131]

text: Novelization

text: Reception

text: Critical reception

text: On review aggregator Rotten Tomatoes the film has an approval rating of 55% based on 212 reviews, with an average rating of 6/10. The site's critical consensus reads, "Burdened by exposition and populated with stock characters, The Phantom Menace gets the Star Wars prequels off to a bumpy – albeit visually dazzling – start."[132] On Metacritic, the film has a score of 51 out of 100, based on 36 critics, indicating "mixed or average reviews".[133] On both sites, it is the lowest-rated film in the Star Wars film series, excluding the animated feature The Clone Wars. Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale.[134]

text: Many aspects of the scripting were criticized, especially that of the character Jar Jar Binks, who was regarded by many members of the older fan community as toyetic—a merchandising opportunity rather than a serious character.[135][136] Kenneth Turan of the Los Angeles Times described Binks as "a major miscue, a comic-relief character who's frankly not funny."[137] Drew Grant of Salon.com wrote "Perhaps the absolute creative freedom director George Lucas enjoyed while dreaming up the flick's 'comic' relief—with no studio execs and not many an independently minded actor involved—is a path to the dark side."[138]

text: Red Letter Media produced a highly critical 70 minute video review narrated by a fictional "Harry S. Plinkett", which went into great detail on their criticisms of the film and went viral, receiving over 7 million views. Among the many criticisms was the assertion that the film lacked basic structure, such as having a protagonist.[139][140]

text: Conversely, Roger Ebert of the Chicago Sun-Times gave it three-and-a-half stars out of four and called it "an astonishing achievement in imaginative filmmaking" and said "Lucas tells a good story." Ebert also wrote that "If some of the characters are less than compelling, perhaps that's inevitable" because it is the opening film in the new trilogy. He concluded his review by saying that rather than Star Trek films, filmmakers could "[g]ive me transparent underwater cities and vast hollow senatorial spheres any day."[141] Owen Gleiberman of Entertainment Weekly gave the film a "B" grade and complimented Liam Neeson's performance and the action scenes.[142] In an Entertainment Weekly review for the DVD release, Marc Bernardin gave the film a "C-", calling it "haplessly plotted, horribly written, and juvenile".[143] ReelViews' James Berardinelli wrote:

text: Looking at the big picture, in spite of all its flaws, The Phantom Menace is still among the best "bang for a buck" fun that can be had in a movie theater. It isn't as fresh as the original Star Wars nor does it have the thematic richness and narrative complexity of The Empire Strikes Back, but it is a distinct improvement over Return of the Jedi. In fact, after Return of the Jedi, I didn't have a burning desire to return to this galaxy 'far, far away', but, with The Phantom Menace, Lucas has revived my interest. Now, it's with genuine regret that I realize the next segment of the series is three long years away.[144]

text: Andrew Johnston of Time Out New York wrote "Let's face it: no film could ever match the expectations some have for Episode I – The Phantom Menace. Which isn't to say it's a disappointment: on the contrary, it's awesomely entertaining, provided you accept it on its own terms ... Like the original film, it's a Boy's Own adventure yarn with a corny but irresistible spiritual subtext. The effects and production design are stunning, but they always serve the story, not the other way around."[145] Susan Wloszczyna of USA Today said the film did "plenty right" and praised the characters Darth Maul and Watto.[146] David Cornelius of efilmcritic.com said the film's better moments "don't merely balance out the weaker ones—they topple them."[147] Colin Kennedy of Empire magazine said that despite problems with pacing and writing, "there is still much pleasure to be had watching our full-blown Jedi guides in action." He praised the visuals and Liam Neeson's performance, and said the duel between Darth Maul and the Jedi was "the saga's very best lightsaber battle".[148]

text: Empire magazine ranked The Phantom Menace on its list of "500 Greatest Movies Of All Time",[149] while Entertainment Weekly and Comcast included the film on their lists of the worst movie sequels.[150][151] James Berardinelli wrote "The Phantom Menace was probably the most overhyped motion picture of the last decade (if not longer), and its reputation suffered as a result of its inability to satisfy unreasonable expectations."[152] William Arnold of the Seattle Post-Intelligencer agreed that the film's massive hype caused many of the negative reactions, saying "it built expectations that can't possibly be matched and scuttled [the] element of storytelling surprise." He also said the film was "well made and entertaining" and was much better than similar box office fare released around that year, such as The Mummy and The Matrix.[153]

text: The introduction of midi-chlorians—microscopic organisms that mediate use of the Force—in the film has been controversial among fans. Some viewed it as a concept that negates the Force's spiritual quality, although the film still portrays the Force as a mysterious entity using the midi-chlorians to communicate with living beings. Film historian Daniel Dinello says "Anathema to Star Wars fanatics who thought they reduced the Force to a kind of viral infection, midi-chlorians provide a biological interface, the link between physical bodies and spiritual energy."[154] Religion expert John D. Caputo writes "In the 'Gospel according to Lucas', a world is conjured up in which the intractable oppositions that have tormented religious thinkers for centuries are reconciled ... The gifts that the Jedi masters enjoy have a perfectly plausible scientific basis, even if its ways are mysterious: their bodily cells have a heavier than usual concentration of 'midi-chlorians'."[155]

text: After the film's release, there was controversy over whether several alien characters reflect racial stereotypes. For example, the oafish, slow-witted Jar Jar Binks had long droopy ears reminiscent of dreadlocks and spoke with what many perceived as a Caribbean patois reminiscent of Jamaican Creole.[156] The greedy and corrupt Neimoidians of the Trade Federation spoke with East Asian accents and the unprincipled trader Watto has been interpreted as a Jewish stereotype reminiscent of Charles Dickens' character Fagin. Lucas has denied all of these implications,[135] instead criticizing the American media for using opinions from the Internet as a reliable source for news stories. Lucas added that it reflected more the racism of the commenters than it does the movie;[157] however, animator Rob Coleman said he viewed footage of Alec Guinness as Fagin in Oliver Twist to inspire his animators in the creation of Watto.[158] Drew Grant described Jar Jar Binks as "[s]ervile and cowardly ... a black minstrel-ish stereotype on par with Stepin Fetchit."[138] Michael Eric Dyson, professor of African-American studies at Georgetown University, said the entire Gungan people seem oddly suggestive of a primitive African tribe. Dyson said "The leader of Jar Jar's tribe is a fat, bumbling buffoon with a rumbling voice, and he seems to be a caricature of a stereotypical African tribal chieftain."[159]

text: Box office performance

text: Despite its mixed critical reception, The Phantom Menace was a financial success, breaking many box office records in its debut. It broke The Lost World: Jurassic Park's records for the largest single-day gross for taking more than $28 million in the opening day and fastest to gross $100 million in five days. It grossed $64.8 million in its opening weekend, the second-ever highest at the time.[160] It also became the quickest film to reach the $200 million and $300 million marks, surpassing Independence Day (1996) and Titanic (1997) respectively.[161] The Phantom Menace was 1999's most successful film, earning $431.1 million in North America and $493.2 million in other territories, taking $924.3 million worldwide.[161] Box Office Mojo estimates that the film sold over 84.8 million tickets in the US in its initial theatrical run.[162] At that time, the film was the third highest-grossing film in North America behind Titanic and Star Wars (1977), and the second highest-grossing film worldwide behind Titanic without adjusting for inflation of ticket prices. When adjusted for ticket price inflation, it ranked as the 19th-highest-grossing film domestically, making it the fourth Star Wars film to be in the Inflation-Adjusted Top 20. Outside North America, the film grossed over $10 million in Australia ($25.9 million), Brazil ($10.4 million), France and Algeria ($43 million), Germany ($53.9 million), Italy ($12.9 million), Japan ($109.9 million), Mexico ($12 million), Spain ($25 million), and the United Kingdom and Ireland ($81.9 million).[163]

text: After its 3D re-release in 2012, the worldwide box office gross exceeded $1 billion.[164] Although in the intervening years, the film had lost some of its rankings in the lists of highest-grossing films, the 3D re-release returned it to the worldwide all-time Top 10 for several months.[165] In North America, its revenues overtook those of the original Star Wars as the saga's highest-grossing film when not adjusting for inflation of ticket prices, and is the tenth highest-grossing film in North America as of August 2017[update].[166] In North America, its ranking on the Adjusted for Ticket Price Inflation list climbed to 16th place—one place behind Return of the Jedi.[167] The 3D re-release, which premiered in February 2012, earned $43 million—$22.5 million of which was in North America—worldwide.[168] The 3D re-release earned US$102,727,119 worldwide—including $43.5 million in North America—and has increased the film's overall box office takings to $474.5 million domestically, and $552.5 million in other territories.[169] The film's earnings exceeded $1 billion worldwide on February 22, 2012, making it the first Star Wars film and the 11th film in history—excluding inflation—to do so.[164][169]

text: Accolades

text: The Phantom Menace was nominated for three Academy Awards: Best Sound Editing, Best Visual Effects, and Best Sound Mixing (Gary Rydstrom, Tom Johnson, Shawn Murphy, and John Midgley); all of which went to The Matrix.[170][171] The film won Saturn Awards for Best Costumes and Best Special Effects,[172] the MTV Movie Award for Best Action Scene,[173] and a Young Artist Award for Jake Lloyd's performance.[174] It was also nominated for—among others—the BAFTAs for Visual Effects and Sound,[175] and the Grammy Award for Best Score Soundtrack for Visual Media.[176] The film did however receive seven Golden Raspberry Award (Razzie) nominations for Worst Picture, Worst Director, Worst Screenplay, Worst Supporting Actor (Jake Lloyd as Anakin), Worst Supporting Actress (Sofia Coppola as Saché), Worst Screen Couple (Jake Lloyd and Natalie Portman), and Jar Jar Binks actor Ahmed Best won the Worst Supporting Actor category.[177]

text: Sequels

text: A sequel, Attack of the Clones, was released in 2002.[178] A second sequel, Revenge of the Sith, was released in 2005.[179] The story continues a decade later with Anakin Skywalker now grown to adulthood with the character now played by Hayden Christensen.[180][181]


document_title: List of lakes by depth

question_text: what is the deapest lake in the world

question_tokens: what is the deapest lake in the world

root

text: List of lakes by depth

text: Lakes ranked by maximum depth[edit]

text: This list contains all lakes whose maximum depth is reliably known to exceed 400 metres (1,300 ft)

tag: p

text: Geologically, the Caspian Sea, like the Black and Mediterranean seas, is a remnant of the ancient Tethys Ocean. The deepest area is oceanic rather than continental crust. However, it is generally regarded by geographers as a large endorheic salt lake.

text:
Continent color key

Africa

Asia

Europe

North America

Oceania

South America

Antarctica

tag: table

text:
Name

Country

Region

Depth(meters)

Depth(feet)

1.

Baikal[1]

 Russia

Siberia

7003164200000000000♠1,642

7003538700000000000♠5,387

2.

Tanganyika

 Tanzania Democratic Republic of the Congo Burundi Zambia

Central Africa

7003147000000000000♠1,470

7003482300000000000♠4,823

3.

(Caspian Sea[2])

 Iran Russia Turkmenistan Kazakhstan Azerbaijan

7003102500000000000♠1,025

7003336300000000000♠3,363

4.

Vostok[3]

 Antarctica

~1,000

~3,300

5.

O'Higgins-San Martín[4]

 Chile Argentina

Aysén (Chile), Santa Cruz (Argentina)

7002836000000000000♠836

7003274200000000000♠2,742

6.

Malawi/Nyasa/Niassa

 Mozambique Malawi Tanzania

7002706000000000000♠706

7003231600000000000♠2,316

7.

Issyk Kul

 Kyrgyzstan

7002668000000000000♠668

7003219200000000000♠2,192

8.

Great Slave

 Canada

Northwest Territories

7002614000000000000♠614

7003201500000000000♠2,015

9.

Crater[5]

 United States

Oregon

7002594000000000000♠594

7003194900000000000♠1,949

10.

Matano

 Indonesia

Sulawesi

7002590000000000000♠590

7003193600000000000♠1,936

11.

General Carrera-Buenos Aires[6]

 Chile Argentina

7002586000000000000♠586

7003192300000000000♠1,923

12.

Hornindalsvatnet

 Norway

Sogn og Fjordane

7002514000000000000♠514

7003168600000000000♠1,686

13.

Quesnel

 Canada

British Columbia

7002506000000000000♠506

7003166000000000000♠1,660

14.

Toba

 Indonesia

Sumatra

7002505000000000000♠505

7003165700000000000♠1,657

15.

Sarez

 Tajikistan

7002505000000000000♠505

7003165700000000000♠1,657

16.

Tahoe

 United States

California, Nevada

7002501000000000000♠501

7003164500000000000♠1,645

17.

Argentino

 Argentina

Santa Cruz (Patagonia)

7002500000000000000♠500

7003164000000000000♠1,640

18.

Kivu

 Democratic Republic of the Congo Rwanda

7002480000000000000♠480

7003157500000000000♠1,575

19.

Grand

 Canada

Newfoundland

7002475000000000000♠475

7003155800000000000♠1,558

20.

Salsvatnet

 Norway

Nord-Trøndelag county

7002464000000000000♠464

7003152300000000000♠1,523

21.

Nahuel Huapi

 Argentina

Rio Negro, Patagonia

7002464000000000000♠464

7003152300000000000♠1,523

22.

Hauroko

 New Zealand

Southland (South Island)

7002462000000000000♠462

7003151600000000000♠1,516

23.

Cochrane / Pueyrredón[6]

 Chile Argentina

Aysén (Chile)Santa Cruz (Argentina)

7002460000000000000♠460

7003150900000000000♠1,509

24.

Lake Tinn

 Norway

Telemark county

7002460000000000000♠460

7003150900000000000♠1,509

25.

Adams

 Canada

British Columbia

7002457000000000000♠457

7003149900000000000♠1,499

26.

Chelan

 United States

Washington (state)

7002453000000000000♠453

7003148600000000000♠1,486

27.

Van[7]

 Turkey

7002451000000000000♠451

7003148000000000000♠1,480

28.

Poso

 Indonesia

Sulawesi

7002450000000000000♠450

7003147600000000000♠1,476

29.

Fagnano

 Argentina Chile

Tierra del Fuego

7002449000000000000♠449

7003147300000000000♠1,473

30

Great Bear

 Canada

Northwest Territories

7002446000000000000♠446

7003146300000000000♠1,463

31.

Manapouri

 New Zealand

Southland (South Island)

7002444000000000000♠444

7003145700000000000♠1,457

32.

Mjøsa

 Norway

Hedmark, Oppland and Akershus counties

7002443500000000000♠443.5

7003145500000000000♠1,455

33.

Te Anau

 New Zealand

Southland (South Island)

7002425000000000000♠425

7003139000000000000♠1,390

34.

Tazawa

 Japan

Akita Prefecture

7002423000000000000♠423

7003138700000000000♠1,387

35.

Wakatipu

 New Zealand

South Island

7002420000000000000♠420

7003137800000000000♠1,378

36.

Como

 Italy

Lombardy

7002410000000000000♠410

7003134500000000000♠1,345

37.

Superior

 Canada United States

Ontario, Michigan, Minnesota, Wisconsin

7002406000000000000♠406

7003133200000000000♠1,332

text: Lakes ranked by mean depth[edit]

text: Mean depth can be a more useful indicator than maximum depth for many ecological purposes. Unfortunately, accurate mean depth figures are only available for well-studied lakes, as they must be calculated by dividing the lake's volume by its surface area. A reliable volume figure requires a bathymetric survey. Therefore, mean depth figures are not available for many deep lakes in remote locations.

text: The Caspian Sea ranks much further down the list on mean depth, as it has a large continental shelf (significantly larger than the oceanic basin that contains its greatest depths).

text:
Continent colour key

Africa

Asia

Europe

North America

Oceania

South America

Antarctica

text:
Name

Country

Region

Depth(meters)

Depth(feet)

1.

Baikal[1]

Russia

Siberia

7002744400000000000♠744.4

7003244200000000000♠2,442

2.

Tanganyika

Tanzania, Democratic Republic of the Congo, Burundi, Zambia

Africa

7002570000000000000♠570

7003187000000000000♠1,870

3.

Vostok[3][8]

Antarctica

7002430000000000000♠430

7003141100000000000♠1,411

4.

Crater[5]

United States

Oregon

7002350000000000000♠350

7003114800000000000♠1,148

5.

Tahoe

United States

California, Nevada

7002301000000000000♠301

7002989000000000000♠989

6.

Adams

Canada

British Columbia

7002299000000000000♠299

7002981000000000000♠981

7.

Malawi

Mozambique, Tanzania, Malawi

7002292000000000000♠292

7002958000000000000♠958

8.

Tazawa

Japan

7002280000000000000♠280.0

7002918600000000000♠918.6

9.

Issyk Kul

Kyrgyzstan

7002278390000099999♠278.4

7002913400000000000♠913.4

10.

Kivu

Democratic Republic of the Congo, Rwanda

7002240000000000000♠240

7002787000000000000♠787

11.

Matano[9]

Indonesia

Sulawesi

7002240000000000000♠240

7002787000000000000♠787

12.

Hornindalsvatnet[9]

Norway

Sogn og Fjordane

7002237000000000000♠237

7002778000000000000♠778

13.

Toba[9]

Indonesia

Sumatra

7002216000000000000♠216

7002707000000000000♠707

14.

Karakul

Tajikistan

7002210000000000000♠210

7002689000000000000♠689

15.

Sarez

Tajikistan

7002202000000000000♠202

7002662000000000000♠662

16.

Lake Tinn[9]

Norway

Telemark

7002190000000000000♠190

7002623000000000000♠623

17.

(Caspian Sea[2])

Iran, Russia, Turkmenistan, Kazakhstan, Azerbaijan

7002184000000000000♠184

7002604000000000000♠604

18=

Lake Teletskoye

Russia

7002174000000000000♠174

7002571000000000000♠571

18=

Ranau

Indonesia

Sumatra

7002174000000000000♠174

7002571000000000000♠571

20.

Slocan

Canada

British Columbia

7002171000000000000♠171

7002561000000000000♠561

21.

Como[10]

Italy

Lombardia

7002161000000000000♠161

7002528000000000000♠528

22.

Azure

Canada

British Columbia

7002157190000000000♠157.2

7002515700000000000♠515.7

23.

Quesnel

Canada

British Columbia

7002157000000000000♠157

7002515000000000000♠515

24=

Ohrid

Macedonia and Albania

7002155000000000000♠155

7002508000000000000♠508

24=

Mjøsa

Norway

Hedmark, Oppland and Akershus

7002155000000000000♠155

7002508000000000000♠508

26.

Salsvatnet[9]

Norway

Nord-Trøndelag

7002154000000000000♠154

7002505000000000000♠505

27.

Geneva[9]

Switzerland, France

7002153000000000000♠153

7002502000000000000♠502

28.

Singkarak

Indonesia

West Sumatra

7002149000000000000♠149

7002489000000000000♠489

29.

Lake Superior

United States, Canada

Ontario, Michigan, Minnesota, Wisconsin

7002147000000000000♠147

7002483000000000000♠483

30.

Loch Ness[9]

United Kingdom

Scotland

7002133000000000000♠133

7002436000000000000♠436

31.

Great Central

Canada

British Columbia

7002124000000000000♠124

7002407000000000000♠407

32.

Garibaldi

Canada

British Columbia

7002119000000000000♠119

7002390000000000000♠390

33.

Dead Sea

Jordan, Palestine, Israel

7002118000000000000♠118

7002387000000000000♠387

34.

Titicaca

Peru, Bolivia

7002107000000000000♠107

7002351000000000000♠351

35.

Gander

Canada

Newfoundland

7002105400000000000♠105.4

7002346000000000000♠346

36.

Kauhakō Crater[11][12]

United States

Hawaii

7002105000000000000♠105

7002344000000000000♠344

text: Greatest maximum depth by continent[edit]

text:
Africa — 1: Tanganyika, 2: Malawi, 3: Kivu
Antarctica — 1: Radok Lake (surface lake); Vostok (subglacial lake)[3]
Asia — 1: Baikal, (2: Caspian Sea), 3: Issyk Kul, (3: Matano)
Europe — 1: Hornindalsvatnet, 2: Salsvatnet, 3: Lake Tinn
North America — 1: Great Slave Lake, 2: Crater, 3: Quesnel

text: Central America — 1: Atitlán, 2: Chicabal

text: Oceania — 1: Hauroko, 2: Manapouri, 3: Te Anau

text: Australia — 1: St Clair

text: South America — 1: O'Higgins/San Martín, 2: General Carrera, 3: Argentino

text: Greatest mean depth by continent[edit]

text:
Africa — 1: Tanganyika, 2: Malawi, 3: Kivu
Antarctica — 1: Vostok[3]
Asia — 1: Baikal, 2: Issyk Kul, 3: Karakul
Europe — 1: Hornindalsvatnet, 2: Lake Tinn, 3: Como
North America — 1: Crater, 2: Tahoe, 3: Quesnel
Oceania — 1: Kauhakō Crater


document_title: List of solar eclipses visible from the United States

question_text: where was the last solar eclipse in the usa

text:
June 28, 1908

Annular
June 8, 1918

Total
November 22, 1919

Annular
September 10, 1923

Total

January 24, 1925

Total
June 29, 1927

Total
April 28, 1930

Hybrid
August 31, 1932

Total

April 19, 1939

Annular
April 7, 1940

Annular
February 4, 1943

Total
July 9, 1945

Total

May 9, 1948

Annular

text:
September 1, 1951

Annular
June 30, 1954

Total
October 2, 1959

Total
July 20, 1963

Total

March 7, 1970

Total
July 10, 1972

Total
February 26, 1979

Total
May 30, 1984

Annular

July 22, 1990

Total
July 11, 1991

Total
January 4, 1992

Annular
May 10, 1994

Annular

text:
May 20, 2012[1]

Annular
August 21, 2017[2]

Total
October 14, 2023[3]

Annular
April 8, 2024[4]

Total

March 30, 2033[5]

Total
June 21, 2039[6]

Annular
August 23, 2044[7]

Total
August 12, 2045[8]

Total

February 5, 2046[9]

Annular
June 11, 2048[10]

Annular

text:
[show]

v
t
e

Solar eclipses

Lists of eclipses

By century

Antiquity
20th BC
19th BC
18th BC
17th BC
16th BC
15th BC
14th BC
13th BC
12th BC
11th BC
10th BC
9th BC
8th BC
7th BC
6th BC
5th BC
4th BC
3rd BC
2nd BC
1st BC
1st
2nd
3rd
4th
5th
6th
7th
8th
9th
10th
11th
12th
13th
14th
15th
16th
17th
18th
19th
20th
21st
22nd
23rd
24th
25th
26th
27th
28th
29th
30th

Saros series

110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162

Visibility

Australia
China
Philippines
Russia
Ukraine
United Kingdom
United States

Historical

Mursili's eclipse (1312 BC)
Assyrian eclipse (763 BC)
Eclipse of Thales (585 BC)

Total/hybrid eclipses

→ symbol denotes
next total/hybrid eclipse

1560 Aug 21
1598 Mar 7
1652 Apr 8
1654 Aug 12
1673 Aug 12
1699 Sep 23
1715 May 3
1724 May 22
1766 Feb 9
1778 Jun 24
1780 Oct 27
1806 Jun 16
1816 Nov 19
1824 Jun 26
1842 Jul 8
1851 Jul 28
1853 Nov 30
1857 Mar 25
1858 Sep 7
1860 Jul 18
1865 Apr 25
1867 Aug 29
1868 Aug 18
1869 Aug 7
1870 Dec 22
1871 Dec 12
1874 Apr 16
1875 Apr 6
1878 Jul 29
1882 May 17
1883 May 6
1885 Sep 8
1886 Aug 29
1887 Aug 19
1889 Jan 1
1889 Dec 22
1893 Apr 16
1896 Aug 9
1898 Jan 22
1900 May 28
1901 May 18
1903 Sep 21
1904 Sep 9
1905 Aug 30
1907 Jan 14
1908 Jan 3
1908 Dec 23
1909 Jun 17
1910 May 9
1911 Apr 28
1912 Apr 17
1912 Oct 10
1914 Aug 21
1916 Feb 3
1918 Jun 8
1919 May 29
1921 Oct 1
1922 Sep 21
1923 Sep 10
1925 Jan 24
1926 Jan 14
1927 Jun 29
1928 May 19
1929 May 9
1930 Apr 28
1930 Oct 21
1932 Aug 31
1934 Feb 14
1936 Jun 19
1937 Jun 8
1938 May 29
1939 Oct 12
1940 Oct 1
1941 Sep 21
1943 Feb 4
1944 Jan 25
1944 Jul 20
1945 Jul 9
1947 May 20
1948 Nov 1
1950 Sep 12
1952 Feb 25
1954 Jun 30
1955 Jun 20
1956 Jun 8
1957 Oct 23
1958 Oct 12
1959 Oct 2
1961 Feb 15
1962 Feb 5
1963 Jul 20
1965 May 30
1966 Nov 12
1967 Nov 2
1968 Sep 22
1970 Mar 7
1972 Jul 10
1973 Jun 30
1974 Jun 20
1976 Oct 23
1977 Oct 12
1979 Feb 26
1980 Feb 16
1981 Jul 31
1983 Jun 11
1984 Nov 22
1985 Nov 12
1986 Oct 3
1987 Mar 29
1988 Mar 18
1990 Jul 22
1991 Jul 11
1992 Jun 30
1994 Nov 3
1995 Oct 24
1997 Mar 9
1998 Feb 26
1999 Aug 11
2001 Jun 21
2002 Dec 4
2003 Nov 23
2005 Apr 8
2006 Mar 29
2008 Aug 1
2009 Jul 22
2010 Jul 11
2012 Nov 13
2013 Nov 3
2015 Mar 20
2016 Mar 9
2017 Aug 21
→ 2019 Jul 2
2020 Dec 14
2021 Dec 4
2023 Apr 20
2024 Apr 8
2026 Aug 12
2027 Aug 2
2028 Jul 22
2030 Nov 25
2031 Nov 14
2033 Mar 30
2034 Mar 20
2035 Sep 2
2037 Jul 13
2038 Dec 26
2039 Dec 15
2041 Apr 30
2042 Apr 20
2043 Apr 9
2044 Aug 23
2045 Aug 12
2046 Aug 2
2048 Dec 5
2049 Nov 25
2050 May 20
2052 Mar 30
2053 Sep 12
2055 Jul 24
2057 Jan 5
2057 Dec 26
2059 May 11
2060 Apr 30
2061 Apr 20
2063 Aug 24
2064 Aug 12
2066 Dec 17
2067 Dec 6
2068 May 31
2070 Apr 11
2071 Sep 23
2072 Sep 12
2073 Aug 3
2075 Jan 16
2076 Jan 6
2077 May 22
2078 May 11
2079 May 1
2081 Sep 3
2082 Aug 24
2084 Dec 27
2086 Jun 11
2088 Apr 21
2089 Oct 4
2090 Sep 23
2091 Aug 15
2093 Jan 27
2094 Jan 16
2095 Jun 2
2096 May 22
2097 May 11
2099 Sep 14
2100 Sep 4
2114 Jun 3
2132 Jun 13
2150 Jun 25
2168 Jul 5
2186 Jul 16

Annular eclipses

→ symbol denotes
next annular eclipse

1820 Sep 7
1854 May 26
1879 Jan 22
1889 Jun 28
1901 Nov 11
1903 Mar 29
1904 Mar 17
1905 Mar 6
1907 Jul 10
1908 Jun 28
1911 Oct 22
1914 Feb 25
1915 Feb 14
1915 Aug 10
1916 Jul 30
1917 Dec 14
1918 Dec 3
1919 Nov 22
1921 Apr 8
1922 Mar 28
1923 Mar 17
1925 Jul 20
1926 Jul 9
1927 Jan 3
1929 Nov 1
1932 Mar 7
1933 Feb 24
1933 Aug 21
1934 Aug 10
1935 Dec 25
1936 Dec 13
1937 Dec 2
1939 Apr 19
1940 Apr 7
1941 Mar 27
1943 Aug 1
1945 Jan 14
1947 Nov 12
1948 May 9
1950 Mar 18
1951 Mar 7
1951 Sep 1
1952 Aug 20
1954 Jan 5
1954 Dec 25
1955 Dec 14
1957 Apr 30
1958 Apr 19
1959 Apr 8
1961 Aug 11
1962 Jul 31
1963 Jan 25
1965 Nov 23
1966 May 20
1969 Mar 18
1969 Sep 11
1970 Aug 31
1972 Jan 16
1973 Jan 4
1973 Dec 24
1976 Apr 29
1977 Apr 18
1979 Aug 22
1980 Aug 10
1981 Feb 4
1983 Dec 4
1984 May 30
1987 Sep 23
1988 Sep 11
1990 Jan 26
1991 Jan 15
1992 Jan 4
1994 May 10
1995 Apr 29
1998 Aug 22
1999 Feb 16
2001 Dec 14
2002 Jun 10
2003 May 31
2005 Oct 3
2006 Sep 22
2008 Feb 7
2009 Jan 26
2010 Jan 15
2012 May 20
2013 May 10
2014 Apr 29
2016 Sep 1
2017 Feb 26
→ 2019 Dec 26
2020 Jun 21
2021 Jun 10
2023 Oct 14
2024 Oct 2
2026 Feb 17
2027 Feb 6
2028 Jan 26
2030 Jun 1
2031 May 21
2032 May 9
2034 Sep 12
2035 Mar 9
2038 Jan 5
2038 Jul 2
2039 Jun 21
2041 Oct 25
2042 Oct 14
2043 Oct 3
2044 Feb 28
2045 Feb 16
2046 Feb 5
2048 Jun 11
2049 May 31
2052 Sep 22
2053 Mar 20
2056 Jan 16
2056 Jul 12
2057 Jul 1
2059 Nov 5
2060 Oct 24
2061 Oct 13
2063 Feb 28
2064 Feb 17
2066 Jun 22
2067 Jun 11
2070 Oct 4
2071 Mar 31
2074 Jan 27
2074 Jul 24
2075 Jul 13
2077 Nov 15
2078 Nov 4
2079 Oct 24
2081 Mar 10
2082 Feb 27
2084 Jul 3
2085 Jun 22
2085 Dec 16
2088 Oct 14
2089 Apr 10
2092 Feb 7
2092 Aug 3
2093 Jul 23
2095 Nov 27
2096 Nov 15
2097 Nov 4
2099 Mar 21
2100 Mar 10

Partial eclipses

→ symbol denotes
next partial eclipse

1902 Apr 8
1902 May 7
1902 Oct 31
1906 Feb 23
1906 Jul 21
1906 Aug 20
1909 Dec 12
1910 Nov 2
1913 Apr 6
1913 Aug 31
1913 Sep 30
1916 Dec 24
1917 Jan 23
1917 Jun 19
1917 Jul 19
1920 May 18
1920 Nov 10
1924 Mar 5
1924 Jul 31
1924 Aug 30
1927 Dec 24
1928 Jun 17
1928 Nov 12
1931 Apr 18
1931 Sep 12
1931 Oct 11
1935 Jan 5
1935 Feb 3
1935 Jun 30
1935 Jul 30
1938 Nov 21
1942 Mar 16
1942 Aug 12
1942 Sep 10
1946 Jan 3
1946 May 30
1946 Jun 29
1946 Nov 23
1949 Apr 28
1949 Oct 21
1953 Feb 14
1953 Jul 11
1953 Aug 9
1956 Dec 2
1960 Mar 27
1960 Sep 20
1964 Jan 14
1964 Jun 10
1964 Jul 9
1964 Dec 4
1967 May 9
1968 Mar 28
1971 Feb 25
1971 Jul 22
1971 Aug 20
1974 Dec 13
1975 May 11
1975 Nov 3
1978 Apr 7
1978 Oct 2
1982 Jan 25
1982 Jun 21
1982 Jul 20
1982 Dec 15
1985 May 19
1986 Apr 9
1989 Mar 7
1989 Aug 31
1992 Dec 24
1993 May 21
1993 Nov 13
1996 Apr 17
1996 Oct 12
1997 Sep 2
2000 Feb 5
2000 Jul 1
2000 Jul 31
2000 Dec 25
2004 Apr 19
2004 Oct 14
2007 Mar 19
2011 Jan 4
2011 Jun 1
2011 Jul 1
2011 Nov 25
2014 Oct 23
2015 Sep 13
→ 2018 Feb 15
2018 Jul 13
2018 Aug 11
2019 Jan 6
2022 Apr 30
2022 Oct 25
2025 Mar 29
2025 Sep 21
2029 Jan 14
2029 Jun 12
2029 Jul 11
2032 Nov 3
2033 Sep 23
2036 Feb 27
2036 Jul 23
2036 Aug 21
2037 Jan 16
2040 May 11
2040 Nov 4
2047 Jan 26
2047 Jun 23
2047 Jul 22
2047 Dec 16
2050 Nov 14
2051 Apr 11
2051 Oct 4
2054 Mar 9
2054 Aug 3
2054 Sep 2
2055 Jan 27
2058 May 22
2058 Jun 21
2058 Nov 16
2062 Mar 11
2062 Sep 3
2065 Feb 5
2065 Jul 3
2065 Aug 2
2065 Dec 27
2068 Nov 24
2069 Apr 21
2069 May 20
2069 Oct 15
2072 Mar 19
2073 Feb 7
2076 Jun 1
2076 Jul 1
2076 Nov 26
2083 Feb 16
2083 Jul 15
2083 Aug 13
2084 Jan 7
2086 Dec 6
2087 May 2
2087 Jun 1
2087 Oct 26
2090 Mar 31
2091 Feb 18
2094 Jun 13
2094 Jul 12
2094 Dec 7
2098 Apr 1
2098 Sep 25
2098 Oct 24

Other bodies

Mars
Moon
Jupiter
Neptune
Pluto
Saturn
Uranus

Related topics

Eclipse chasing

Solar viewer

Solar eclipses in fiction

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